I. Preparatory work
No matter what style of flowers you draw, you need to prepare materials. Materials used in painting include pencils, picture books, erasers, necessary coloring tools and pigments. At the same time, prepare the flowers you want to draw. Today we will take the problem as an example to explain how to draw flowers.
Second, the methods and steps of how to draw flowers
1, first of all, we should observe the shape of flowers and put them in the right place where we can see them. Observe the angle and outline of flowers and find your own visual starting point. At the same time, you should have an impression in your mind and conceive how you want to write.
2. Flowers can generally be combined with circles, ellipses, triangles and rectangles. These shapes can be used to draw the basic composition of flowers. If it is a rose, you can draw an ellipse first, then draw petals one by one along this ellipse, and finally draw the trunk and leaves. If it is chrysanthemum, you can make a circle with flowers, and then draw some slender ellipses along the circle to completely fill the petals. If it is a lily, you can draw an inverted triangle and then draw four petals along the inverted triangle. By analogy, different flowers have different compositions, but they are all similar.
3, draw the basic structure and details, you can erase some redundant lines. People who like sketching can deepen the bright contrast of flowers, and people who like gouache can simply color them. In this process, the details of flowers are refined bit by bit, and petals and buds are outlined bit by bit. Let the flowers look more perfect and fine, and when the details are drawn, the flowers will be finished.
How to draw peony?
First, the structural name of peony
The whole peony is composed of flowers, buds, stems, leaves, stems and buds. Every spring, after flowering, a bud embryo is formed between dry and tender stems, and in autumn and winter, the bud grows gradually. In the early spring of the following year, the bud coat was opened and the leaf buds grew. At the beginning of April, buds were extracted from leaf buds, and the flower stems were tall with branches and leaves on them. The flower stem is about a foot high, and only one flower is born at the top of the stem. Petioles are long, alternate, and there are three to five batches of leaves from bottom to top, each batch has nine leaves (due to different varieties, many of them have more than ten batches of leaves on one stem), the upper part is trigeminal, and the near flower part is divided into single leaves. Buds are divided into small buds and large buds. Pedicel consists of upper and lower sepals. There are three large calyxes above and six small calyxes below (compound calyx). There are stamens and pistils in the center of the flower head. The pistil is in the center of the flower heart and looks like a small pomegranate. Stamens consist of two parts: head and filament.
Second, the painting method of peony flower head
The general shape of flowers and the arrangement of petals
Peony flower heads can be divided into single petals, double petals and floor-standing flowers due to different varieties, and their colors are also different due to different varieties, which are colorful and very rich. At the beginning, whether copying or sketching, we should not just stare at petals and leaves, but learn to grasp the overall outline, so as to "focus on the whole and start with the parts" and find out the basic structural characteristics in the complicated and changeable flower shapes, that is, to find out the general shape of flowers. If you look down from the front or back, the general shape of flowers is almost round, and half or all sides are sui round. A single flower looks like a dish, and two flowers look like several dishes of different sizes overlapping. For beginners to draw flower heads, you can use a pencil or charcoal bar to gently tick out the approximate shape with auxiliary lines, or you can arrange the approximate layers of petals, and then cluster them with color or ink with a brush.
The arrangement of petals should not be large and neat, from top to bottom and from left to right. Petals clustered into a "field" shape are not beautiful. But the petals between the upper and lower layers should be staggered, and the three petals are like a "needle" structure.
Third, the pen and color (or ink) of petals.
The basic shape of petals is circular, with narrow lower edge and wide upper edge, and many folds. Therefore, you can use a larger wool pen, first dip it in white powder and mix a small amount of peony red (the writing brush needs to be soaked in water first), then adjust it to light red on the plate, so that the tip, abdomen and roots all contain a proper amount of light red, then dip it in a little bit of peony red, and then make a little touch-up on the plate (not too harmonious, but flat) to draw. If the petals are facing up, put the tip of the pen down, the root of the pen up, and lay one or two pens on your side. When drawing small petals, hold the paper with the pen tip. When drawing large petals, the pen should be pressed to the end, and the reddish color on the root of the pen is reflected on the petal end through the action of the pen belly, which naturally forms the shade effect of the petals. When drawing multiple petals, use the depth of dipping color and point them out layer by layer according to the structure of the flowers, which is natural and vivid. Because of the different postures of flowers, it is necessary to do cluster exercises in up, down, left and right directions, so that the wrist can be flexible and handy.
Fourth, the structure and painting of pedicels
Pedicels are the skin of petals. Peony pedicel consists of two layers: large calyx and compound calyx. The big calyx is located on the outer layer of the petals, close to the petals, shaped like a button cup and three * * *, and the first pair of sepals is bright green or bright red. Compound calyx is surrounded by large calyx, such as band, which is green. Calyx is the key to connecting the preceding with the following, which can not be ignored. If the peony is painted with ink, the sepals are darker (slightly darker than the petals). Peony can be painted with a little rouge dipped in juice, or with a little green mixed with juice. When painting, the pen should be easy, fast, smooth and natural, and you can't describe it repeatedly.
Five, the structure and drawing of stamens
Stamens play an important role in flowers, just like human eyes. Play a contrast and refreshing role in color. After the petals and calyx are drawn, you can click the stamens to form a complete corolla.
Pistil is divided into pistil and stamen. The pistil is located in the center of the flower heart and looks like a small pomegranate. The longer it grows, the more it splits, and it has formed a large petal shape when it blooms. Stamens are located around the pistil. When the pistil just opens, it is plump, neatly arranged and yellow. The pistil is exposed at the full flowering stage, which is more elastic than the initial flowering stage, and the color is pale yellow. When it will fade, the core will gradually dry and curl, and the color of the core is milky yellow. Stamens consist of pistils and filaments (whiskers). Press the core head on the core and connect the flower core. The flower head is shaped like a grain of rice. When drawing colored peonies, dot them with saturated yellow. When painting, you should gather and disperse, not stop at one flower.
Six, the main points of painting peony flower head
Peony petals rely on pedicels and encircle the flower heart, forming the characteristics of tight inside and loose outside, small inside and large outside, and cohesive eversion. So when you cluster petals, you must first know the direction and front of the corolla. When ordering a cluster, you should master the following points.
1. Consistency of flower heart, calyx and stem growth. That is, the heart, calyx and stem should be straight or curved, and they should not be eccentric. Petals grow from the heart of the flower and should have the effect of "returning the pedicle to the heart".
2. Pay attention to the perspective relationship of petals. As can be seen from the corolla outline, the petal arrangement is divided into vertical and horizontal. Viewed from the horizontal direction, one or two petals in the middle are wider and the left and right sides are narrower, which is the perspective change. Longitudinally, the upper and lower petals are relatively long, and the middle one is relatively flat, which is also the reason for perspective.
3. When the petals of the first group (or the first layer) are clustered, they should be arranged in a compact and arc shape. Never line up, loose and difficult to shape.
Seven, the steps of peony flower head cluster
The method of clustering peony flower heads can be done with ink or color respectively. To draw pink peony, use a big sheep brush. First, add a small amount of eosin (peony red) or rouge to the white powder, and then dip a proper amount of eosin or rouge in the pen tip. With the pen tip inward, draw the innermost light petals first, then the deep part of the center, and then draw one layer at a time, so that you can see the spirit in the shade. But pay attention to the unity and concentration of blocks, and don't let the picture be too messy by red and white. Draw the calyx after the flower head is lit, and then light the stamens with gamboge when it is slightly dry.
Eight, side flower painting
The flowers on the side are generally oblate, and the degree of oblate varies with the half side or the front side. All-sided flowers generally do not see stamens. When painting, only the petals and sepals are ordered. When drawing a flower stem, we should still pay attention to the natural coherent trend with the center of the flower head. If the flower stem is twisted or folded sharply, it will be unsightly. Ornamental petals
Nine, back painting
Painted peony on the back, the general shape of the flower is round, and the whole picture of its large calyx and compound calyx can be seen, but the stamens are not visible, and the number of petals changes little. However, the change of the shade of the two layers of calyx should be taken seriously and not careless. The addition of flower stems should also keep up with the trend of flower heads, otherwise it will be very awkward visually.
X. Xiao Lei's painting method
Xiao Lei is shaped like a peach, with three large calyx tightly wrapped, and the petals are not exposed or will be exposed. Small buds appear in the flowers, which are very lively. They are not only the future of blooming flowers, but also play a colorful role in shape and color, so they can not be ignored. When painting, use a brush to turn it into juice green, and then touch a little eosin or rouge on the nib, with the nib facing up and the belly facing down, to draw a big calyx. Then draw drooping compound calyx and flower stem.
XI。 The drawing method of radar
Big buds and petals have been seen or most or all petals have been seen, but stamens have not been seen or stamens have been seen first. The big calyx and the compound calyx are facing away from each other, and the petals are tight inside and loose outside, forming different images such as square and trapezoid, which is very vivid. The big bud-shaped small color is gorgeous, which contrasts and echoes with the blooming flower heads. The big bud is full of vitality and more vigorous, which is indispensable in the peony map. When painting, you should hold your head high and avoid hanging upside down. Using pen and color is similar to drawing petals and sepals of small flower buds, except that the outer arc of petals of large flower buds is more compact and less wrinkled than that of blooming flower heads.
Twelve, the first flower painting
The first flower is the continuation and development of the big bud. Petals are exposed, neatly arranged, stamens exposed first, colorful, beautiful. Pay attention to the treatment of the outer petals when painting the first flowers. Pleats change more than big buds, so they don't go too round and too flat, which not only shows great vitality, but also looks elegant.
XIII. Painting of Blooming Flowers
Peony flowers bloom during the day and close at night. The first day is tight, the second day is loose, and after three days, it is looser and infinitely open and close. So the petals overlap and open and close infinitely, and the image is very vivid. A peony flower always takes the blooming flower head as the main body, one or two, one group or two groups, and then matched with large and small buds or newly blooming flowers to form the main and auxiliary ups and downs. With the support of green leaves, a picture with a sense of rhythm can be formed. The petals of blooming flowers are flexible and rich in shape, especially the outer petals, which are large in area and varied, and are the key to drawing a good flower head. The performance of stamens is also different from that of first flowers. Stamens are rarely seen when they just open. When it is in full bloom, you can see the pistil when it is released. When hooking the core head, the density should be changed and mechanical rigidity should be avoided.
Fourteen, outline the painting steps of peony flowers
Painting peony, not only with flowers and leaves, but also with flowers and leaves.
The first step is to cross the flower shape with ink lines. When sketching, according to the size of the petals, the edges are reversed, and lines with different thicknesses are used to make them virtual and real. Especially at the junction of the inner and outer petals, the outer edge line should not be completely hooked up, which is vivid and natural and has the meaning of broken pen.
Step 2: Dot the leaves with ink or color. Crochet flowers are mainly light-colored flowers, such as white and yellow. Therefore, you can use the leaves next to the flower head to set off the light-colored flowers, making them more eye-catching.
The third step is to color. When drawing white flowers, when the ink line is slightly dry, dip lanolin in thin white powder and smudge it from the slightly end of petals to the base. The thinner white powder is closer to the base until it is used up. Then baked, dyed gray-green outward from the petal base, lightened outward and disappeared into white powder. Draw yellow flowers, cross the flowers with ochre ink, smudge the ochre yellow, and use a touch of rouge when wet to make the colors richer and calmer.
The fourth step is to hook the leaves and point the stamens. Hook the leaves with cyanine dipped in ink or pure ink. The stamens can be highlighted with ochre ink, cinnabar, rouge and other colors, not limited to yellow, to make them fresh and eye-catching.
XV. Structure of Mosaic
The leaves of Paeonia suffruticosa originated from the periphery of the flower stem and are alternate bipinnately compound leaves, that is, the big petiole is divided into three petioles, and each petiole is divided into three leaflets. A well-developed peony leaf is called "three-pronged nine-top" (or "three-pronged nine-leaf"), and the big petiole is one foot long and cross-shaped. When flowering in spring, the upper leaves of peony grow incompletely, below the flower head, each node has one or three leaves, and then five or seven leaves.
XVI. Name of blade combination
The leaves are divided into single leaves, group leaves and batch leaves due to different combinations. A group of fully grown leaves consisting of three single leaves. The three components are a batch of nine leaves. Each batch of leaves is connected with the flower stem through a large petiole.
XVII. Drawing of Leaves
Peony single leaf can be painted with three strokes. Use ink or color as needed. Draw colorful leaves, use a big wool brush to adjust the juice green, then dip the pen tip in a proper amount of flower green and polish it a little, and you can draw. The middle stroke is longer and the sides are slightly shorter. Use the pen slightly, and use the pen easily and quickly. Ye Jin is divided into main vein and lateral vein. The main vein originates from the petiole and extends to the tip of the leaf. When the ink is not dry, tick out the leaves with thick ink (or cyanine ink). Lateral veins originate from the main vein and extend to the tip of the blade. When sketching, the lines should be thinner than the main veins, and the lateral veins should not be too dense. It is enough to draw two or three groups.
18. Several pulse-hooking methods
The method of checking pulse varies according to style and habit. It can be divided into three hook methods: one is a more rigorous hook method, in which both the main vein and the lateral vein extend to the tip of the blade; Second, the lateral veins extend to the leaf margin, which is loose and messy; Third, the lateral veins gather and disperse, exaggerating decoration. No matter what hook method, the pen is carried by the center.
Nineteen. Perspective and posture of peony leaves
Flowers are divided into two sides, and leaves are also divided into two sides. Freehand painting peony leaves, showing positive and negative folds, does not have to be as detailed as meticulous painting, but only focuses on the scene and atmosphere. Because leaves are connected with petioles, petioles originate from flower stems and are distributed in all directions. Between leaves and leaves, between leaves and stems, there will naturally be mutual concealment, for example, the leaves in front cover the flower stems and the flower stems cover the leaves behind. And because of the different spatial positions, there will be perspective changes in the image, forming different postures such as looking down, looking up and looking up. Like an umbrella that changes at different angles.
Twenty, the painting method of tender leaves
Primary leaves, stems and buds are dark red. Painting young leaves can be dipped in yellow-green ochre or eosin (depending on the color of the picture, rouge can also be dipped in ink painting). Hook the leaves with rouge or cinnabar. The young leaves near the bud gallery and bud are mostly upward. Although they are small in shape, they are very lively. On the same picture, the young leaves are colored and the old leaves are inked. The two should naturally transition and not be completely separated.
Twenty-one, the structure and painting of flower stems
The flower stem is rarely completely exposed on the screen and is often covered by leaves or buds, but it plays a bridge role throughout the momentum and cannot be ignored. The stem is located below the calyx and above the flower bud of old terrier. The tender stem is about a foot long, and there are batches of leaves on the stem, ranging from four or five batches per stem to fourteen or five batches per stem. The stems are light green and bright red. The length, thickness and strength of flower stems vary from variety to variety. Draw a stem with a center, and draw a round texture and beautiful posture with smooth lines. First, change the color to light green, then dip in a proper amount of rouge to draw a stroke, and the thickness should be appropriate. Should not be depressed or steep.
XXII. Insertion of Flowering Stem and Petiole
At the top of the stem are buds and flower heads, which are generally upward. The petiole of peony flower is long (one foot long, cross-shaped), extending back and forth from left to right, so it crisscrosses with the flower stem. When painting, you should pay attention to interspersed gathering and dispersion. Most of the flower stems and petioles in the picture are often covered with flowers and leaves, but the relationship between them still needs to be understood, so that adding the flower stems and petioles after painting the flower heads and leaves can not only conform to the growth structure, but also achieve the artistic effect of density.
Twenty-three, the structure and painting of veteran cadres
The branches of peony are shrubs, often bifurcated and have no main branches. A hundred years' efforts are still thicker than wrists and taller than people. Dry ochre is brown, mostly thin, old and mottled, and the lower part of the stem has peeled off and is nearly smooth. Therefore, it is advisable to draw old cadres with dry pen, and the pen should be combined with the center. Be real and imaginary, and the lines should not be too bright. It should be a little slow and spinning, or it can be used to fall out in front. You can use ochre ink or pure ink painting. Buds can be dipped in eosin or yellow-green rouge and placed on branches.
Twenty-four, the penetration and attitude of veteran cadres
After years of growth and metabolism, the old stem has formed a tortuous posture, and its old mottled epidermis is in obvious contrast with the round and smooth tender stem. The old stem is the basic part that supports the whole peony. Therefore, although the old stem is the next step in the painting process, its situation must be coordinated with flowers, stems and leaves and must be changed. When two or more veteran cadres are combined, they should pay more attention to gathering, dispersing and dispersing. In composition, veteran cadres should only branch at the bottom and sides of the picture. That is only suitable for hair up, reclining posture, no drooping old terrier.
25, draw a whole peony.
Step 1: Draw the outline of flowers and leaves with pencil or charcoal, and then string the flower heads and buds with color or ink. When you are skilled, you can use "abdominal movement" to operate the position (that is, "planned" instead of typing the manuscript with a pencil)
Step 2: Point out the corresponding leaves according to the perspective of the flower head. Point? We should not only consider the ecological structure, but also arrange the gathering and scattering of leaves, leaving gaps (imaginary places) and waiting places.
Step 3: Draw calyx, stem, petiole, stem and bud. Make flowers, stems, leaves, stems, etc. Become a dynamic organic whole.
Step 4: Hook the Ye Jin with the center when the leaves are still wet. Hook edge is the key to the positive and negative rotation of blades, which can not be ignored. The color of the flowers will tick them off before the stamens are dry.
Step 5: At this point, the peony has been basically painted, so you can hang it up and have a look, and sort out the shortcomings. Then sign and seal, and the work is finished.
Twenty-six, big red peony painting
Dip the pen in scarlet, and then use a proper amount of eosin or rouge at the tip of the pen to arrange it slightly on the color swatch to make the flower heads orderly. The so-called "a little tidying up" is based on the natural transition of colors and will not be confused. Can you use Zhu, too? Dip a little eosin (peony red) and a little rouge to make a flower head. The stamens were discovered by Huang Teng. Leaves can be painted with color or ink.
Twenty-seven, crimson peony painting
Dip the pen in rouge first, then dip the nib in a little cyan, and add some finishing touches to the nib. The stamens were discovered by Huang Teng. When painting crimson peony, leaves should not be used to set off the flower heads, because the brightness of the two is close and the effect is not good.
Twenty-eight, yellow peony painting
First, mix a small amount of Huangteng with white powder, adjust it to light yellow, and then dip the pen tip into Huangteng round point. You can also adjust it to a thicker light yellow, and then dip it in a little ochre or juice green flower head. Stamens can have dark yellow, ochre or rouge spots. Make the colors of stamens and petals have brightness contrast. Deep leaves can set off the flower heads of yellow peony.
Twenty-nine, green peony painting
It can be blended with stone green and white powder, dipped in juice green after eating, and clustered after a little finishing. The stamens were discovered by Huang Teng. Leaves can be dipped in ink to draw green juice and green flowers. Pure ink can also make thick and thin leaves.
Thirty, purple peony painting
It is made of azurite mixed with a little eosin (or peony red) and dipped with a little green dot. Huang Teng Dian Rui
Thirty-one, Bai Mudan's painting.
Point out the petals with white powder first, and when it is slightly dry, dye the back of the flowers with juice green or purple gray. Point the core with rouge. When drawing Bai Mudan, you can draw some leaves around the flower head to make the flower shape stand out.
32. Peony picture layout
It is necessary to rely on the artist's ingenious arrangement to reflect the colorful and touching peony in reality into frames of different sizes, resulting in a beautiful and rhythmic form. This is the layout. In the six methods of Chinese painting, it is called "business position", which is composition. A well-behaved work must be the unity of superb pen and ink skills and beautiful layout, both of which are indispensable.
When painting peonies, the key points to pay attention to in layout are as follows:
First, the main body is prominent: Generally speaking, peony is painted with corolla as the main body. When arranging, the corolla should be arranged in the main part of the picture, supplemented by the support of green leaves, and the color contrast between cold and warm, light and dark can produce the effect of concentrated picture and eye-catching flower head.
Second, the subject and object echo: the picture is only the main flower head, isolated and monotonous. It must be set off with a smaller bud or flower head. Only by looking around and echoing the layout can we reflect the vitality of peony.
Third, the density of virtual reality: the flowers and leaves on the screen are sparse and uniform, so they feel loose and not concentrated. The layout is too dense, full of paper leaves, leaving no blank, suffocating. Therefore, only by alternating density can we achieve "sparse but not ventilated" just right. It is also important to deal with the authenticity of the picture. The color of the pen and ink is real, and the blank of the picture is empty. The place near the ink color is true, and the place far away from the ink color is empty. This will not only make the picture uninspired, but also leave infinite reverie for the audience.
Fourth, the momentum runs through: the difference between peony and plum blossom is that the former mainly shows flowers and leaves. Plum blossoms are mainly exposed branches, and the momentum is easy to penetrate. Therefore, painting peony, regardless of the size of the picture and the simplicity of composition, should straighten out the flowers, leaves, stems and pay attention to the momentum throughout the whole picture.
Five, less wins more: the picture is small, but the pen and ink are concise, and the meaning is still unfinished. This is a successful work. To achieve this state, in addition to the painter's pen and ink literacy, it mainly depends on clever layout. If you draw a flower and a bud, you can draw some branches and leaves on the back of the main flower, extending out of the painting, or in color processing, you can downplay the branches and leaves on the back, form a secondary level, or even disappear into a blank, resulting in the effect of flowers outside the painting, although all the colors are used up.
Sixth, the unity of change: the picture is a visual "symphony" composed of pen and ink. Flowers have opening and closing sizes, stems are long and short, leaves are scattered on the positive side, ink is dark and cold, and lines are thick and soft. All painting elements are contradictory. Thereby producing endless changes and exuberant vitality. But everything has its limits, and vice versa. The picture layout is the same. If we only seek change and don't talk about unity, it will be chaotic and it will be impossible to produce a beautiful rhythm. Therefore, seeking unity in change is harmony. Only when there are changes in unity can people feel lively and colorful.
Stability and balance: the perfect unity of content and form is an important factor in a good work. Peony is characterized by bright colors, elegance and nobility. Therefore, while paying attention to layout changes, it also gives people a sense of stability and balance. Generally, it is not a drooping layout, so it is not advisable to be top-heavy when reclining, and it is also necessary to avoid symmetry. In the layout, in addition to paying attention to the balance of dead branches and leaves, we can also use the shade of ink or stone modeling to achieve the purpose of balancing the center of gravity of the picture.
Eight, the flowers and leaves are in contrast: although safflower is good, it needs the support of green leaves. It is important to apply this principle in painting. Therefore, in the layout, we should not only consider the shape, but also consider the color relationship. If the light-colored flower heads (white, yellow, pink green, etc. ) not set off by dark leaves, the outline of the flower shape is not clear. On the contrary, there are too many lining leaves around the dark flower head, which is also not good because the color brightness is close. Therefore, we must pay attention to the color relationship between flowers and leaves when laying out.
According to the above essentials, the composition is made according to the contradictory and unified law of "one long and one short, one big and one small, one more and one less, one vertical and one horizontal". If you draw two flower stems, they should be one tall and one short, one strong and one weak, not parallel and equal in length, so there will be uneven changes. The composition of two flowers should not be as big as the flower head, but should be one big and one small, with the blooming flower head as the main body and the bud or newly opened flower as the foil. Two flowers should not be parallel or symmetrical, but should pay attention to the subject and object and echo (Figure 38). The composition of three flowers should not be evenly dispersed, but should be aggregated (that is, more flowers and less flowers), and should not be uniform, symmetrical or form a straight line. It is appropriate to form an oblique triangle layout with two close and one scattered. Although the layout has convergence and divergence, we should pay attention to the size of the flower shape (Figure 39). The composition of many kinds of flowers, that is, a painting has corollas with different shades or tones. You can use a crisscross layout, which is divided into two or three layers, and the deep and shallow flower heads set each other off.
Have you learned how to draw flowers? There are many ways to draw flowers. Different flowers have different painting methods. You can draw according to your own preferences. The painting of flowers is actually very simple. Pay attention to the shape of the flowers. Different shapes of flowers need to be outlined in different shapes. The most basic step of drawing flowers is to draw a rough outline. All paintings are the same. From the whole to the details, a good work can be completed with a little outline.
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